tretched from Sardinia in the west to Iran in the east, spanning roughly a tenth of the earth’s circumference,” this careful analysis adds important context to our evolving understanding of the interconnectedness of the Mediterranean world at a pivotal moment in history.

35:T7d5,In A City of Marble, Kathleen Lamp argues that classical rhetorical theory shaped the Augustan cultural campaigns and that in turn the Augustan cultural campaigns functioned rhetorically to help Augustus gain and maintain power and to influence civic identity and participation in the Roman Principate (27 b. c. e.--14 c. e.).

Lamp begins by studying rhetorical treatises, those texts most familiar to scholars of rhetoric, and moves on to those most obviously using rhetorical techniques in visual form. She then arrives at those objects least recognisable as rhetorical artefacts, but perhaps most significant to the daily lives of the Roman people--coins, altars, wall painting. This progression also captures the development of the Augustan political myth that Augustus was destined to rule and lead Rome to greatness as a descendant of the hero Aeneas.

A City of Marble examines the establishment of this myth in state rhetoric, traces its circulation, and finally samples its popular receptions and adaptations. In doing so, Lamp inserts a long-excluded though significant audience--the common people of Rome--into contemporary understandings of rhetorical history and considers Augustan culture as significant in shaping civic identity, encouraging civic participation, and promoting social advancement.

Lamp approaches the relationship between classical rhetoric and Augustan culture through a transdisciplinary methodology drawn from archaeology, art and architectural history, numismatics, classics, and rhetorical studies. By doing so, she grounds Dionysius of Halicarnassus's claims that the Principate represented a renaissance of rhetoric rooted in culture and a return to an Isocratean philosophical model o

Beyond the Texts

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